A film about physiological needs pretending to be a love story
Jacques Odiard is one of the best contemporary French directors and screenwriters. It was he who shot such high-profile French projects as “Read lips” in 2001, “My heart stopped beating” in 2005, “Prophet” in 2009, “Dipan” in 2015.
In 2012, he directed Rust and Bone with Marion Cotillard and Matthias Shonarts. This film can often be found in the lists of films with the most unusual and recorded bed scenes. But if you decide to watch this drama based on this information, you will be very disappointed. There is nothing unusual or straightforward in the film. The lists include him simply because in bed shows a woman who does not have both legs. It kind of expands the idea of sexuality and is generally great for forming the right ideas about people with disabilities.
Perhaps this film really took an important step in breaking down the stereotypes that abound in modern society.
However, the rest of the film is highly controversial. Rust and Bone is the story of a romantic relationship between a bouncer and a semi-criminal man and a beautiful young woman who lost both legs in an accident. She falls into depression, it helps her feel the taste of life again. Their relationship turns into intimate. . .
This picture received enthusiastic responses from both critics and viewers. Marion Cotillard received many prestigious nominations for this role. And the film itself became one of the main representatives of French cinema at international festivals in 2012.
Rust and Bone really has a lot of merit. It tells a complex story, the plot of which develops very unpredictable. Until the last second of the film, it is difficult to predict what will be its final chord. And this is a film by Jacques Odiard - which means that the viewer will see a close interweaving of love and criminal stories, the peaceful course of which is broken by inimitable explosive episodes that only this director can create.
However, if you put emotions aside a little and stop pitying the main character, stop sympathizing with the main character, it becomes clear that Rust and Bone is not so good at all. Essentially, the characters Marion Cotillard and Matthias Shonarts portray a love story - he loves her, she loves him, so they're together. But what we actually see is literally the physiological need of both protagonists to have someone around. They both need someone in their bed. And both of them, like any other person, to be psychologically well-off, to have someone around. That's all.
Quite banal and simple story that would look banal and simple, if not for the disability of the main character. It was the lack of legs in the character of Marillon Cotillard that deceived both viewers and critics, making them think that they were seeing some bright and unusual story. . .
Either way, Rust and Bone is a good movie to watch. If you’ve seen a Jacques Odiard movie before, you won’t be disappointed. And if you haven’t seen it, you’ll probably get to know this talented French director.
I loved everything, especially the performance of Cotillard and Shaunarts. I have not watched anything with such anatomical interest for a long time and recommend watching in the original with subtitles to hear the real voices and intonations of the actors, having the opportunity to feel and understand everything better.
This film, despite the intricate title, is about love. Talking about heroin is not necessary. Stephanie is easy to understand and her transformation over the course of the film is perfectly traced. I really liked how she “discovered” Ali, how her feelings for him developed. But, despite the title role, she, in my opinion, still acts as a background for the character Shaunarts. Ali is a mixture of contradictions. For the most part, he is dominated by animal instincts and a person is able to break through this shell only in moments of acute stress. But this “animal” is worth learning about humanity. Even though Ali is an unimportant dad, he's willing to do a lot for his son. But what a son means to him, he himself realizes only when trouble happens.
As for Stephanie, Ali helps the girl precisely because they are driven by instincts. Animals in nature help each other not out of pity, not out of sympathy, but because instinct requires it: an elephant pulls an elephant from a pit, a dolphin raises a wounded dolphin to the surface so that he can swallow air. So Ali "lifts" Stephanie. But he positions himself like this: "I'm just 'Ore' - that's all." What his true feelings for the girl, Ali, as well as with his son, understands only when the most severe emotional shock brings a person to the surface of animal instincts. And to stay on that surface forever, he needs Stephanie. The final conversation of the characters reveals the meaning of the film: who really saved whom?
And the pain that is “like broken glass” will always be with him – this is a metaphor – he will always remember those whom he loves, will always protect them.
There's a lot of eroticism in the film. But it here, like a mirror, reflects the relationship of the characters and with them undergoes a certain evolution. Watching these two was a pleasure for me, so everything was presented realistically, but absolutely without vulgarity.
The method of socialist realism in the hands of Jacques Odiard is a precise instrument that has cut off the marble block of “everything superfluous”, leaving us pure art. And that this art is pure, I have no doubt, even though the “purity” in the film is a controversial concept.
Actions, thoughts, decisions and passions are far from ideal in almost all heroes, except perhaps small and always interfering with everything Sam. But only at first glance, because in the finale, the most important thing is that it sounds deafening! She comes even to the gloomy and completely not bothered by feelings introvert Ali. And for a long time afterwards, I thought that maybe he was ready for her more than anyone else. Or at least not less than
The plot is a puzzle, all the parts of which at the end were formed into an emotional and, finally, beautiful - really beautiful - picture. The way it should be if we are human.
The play of the actors, with all the apparent unflappiness and stinginess of gestures and feelings manifested, leaves a feeling of incredible depth and intelligibility. And my tongue will not turn to call it black. Maybe it would have been a movie if it wasn’t for the finale. Who washed away everything gray and everything black. Nothing left.
The film became a significant film event of 2012 and is considered one of Odiard's best films. Odiard is one of the most famous directors of European cinema of the new generation, a favorite of Cannes. His favorite films are about human nature, or rather its formation, hidden opportunities, frustration. The director is interested in how a person changes in society, whether it changes at all. Who are we? What are we made of? What determines our destiny? How wild it will not seem, but something brings his work closer to the “mad” franchise “Saw...” and Spanish thrash films. After all, there, too, heroes find themselves in existential situations and know themselves. Who knows, maybe the Chegewars or Eskabaras are asleep in all of us. We can be better and worse than what is expected. This is especially clearly demonstrated by the director in the film “The Prophet”.
R and K are the same. Only here we have two heroes and two paths to our true self. The paths that intertwined and became one.
Her. Bone. Bold, cocky, beautiful. Training orcas. A real bone. Losing everything. Becoming disabled. There's a new one. Quite different. Marginal. But she's alive and happy. He's helping her.
Him. Rust. Outwardly brutal, verbose. Just a guard. It's empty. He doesn't like anyone. Me too. What he touches ruins everything. Sister, son, job. That's it. It's not evil. He just doesn't. Just living. Or rather exists. Real "rust."
But she's probably different. For her, he's a pillar. She's his inspiration. His bone.
At some point, it seems that this rust will grab her too. But no. Thank God no. The bone is stronger.
At some point he knows what's important. He's breathing in freezing air. And breaking his bones, feeling unbearable physical pain, he becomes a man. The life of the son becomes most important and there are forces (incredible) to say quietly, on the phone, "I love." To speak so quietly that it seems to you just heard. The soul screamed. But she heard it. Even without words, she would have heard everything.
She's Marion Cotillard. One of her best roles. The new symbol of French cinema is perfect here. Let's forget her new roles in Hollywood projects. They're small to her. She's Lady Macbeth, she's an element, she's a rock.
He's Matthias Shaunarts. A new face at the time of filming. He is currently involved in all major European projects. Soon, Hollywood will follow him. I don't say much. Seems brutal and vulnerable at the same time. Behind the angular movements lies a hidden passion. It's a thunderous mixture for weak maiden hearts.
In the end, we got a new "Man and Woman", but more truthful, or rather. Feelings are not the main thing in this film. Rather, they do not exist on their own, but are only a path to the soul, their “I”.
I cannot recommend this film to everyone. Those who are absorbed by inner self-contemplation, directed to the depths of the subconscious, the film is necessary. Thinking about yourself is painful. I don't know if that's good. There's just no other way. Know yourself! You have to devote your whole life to it.
At the beginning of the story, the characters are similar, they just live, aimlessly spend their lives, although everyone has the main quality, the main thing in their lives - Stephanie has an orca (work of a trainer), Ali-box ... Two Worlds: The World of Soul, Sensations and the World of Action. Each of them comes face to face with the question - are you rust or bone? Their paths cross once. But, after that, they go on different roads, to one, to life.
Stephanie got out, she was stronger, but Ali continues to insist that he is just “OP”.
But he will have to make a choice. She made her choice.
Life gives us a chance to understand, sooner or later, what you really are. Are you a rust or a bone?
*You will have to watch this movie, if only to find out what "OP" is:
I recommend watching!
I love French director Jacques Odiard, all his films. He's a genius! Odiard has directed only nine films, even though he is 63. That is, he works slowly, one film in several years. He has won three Cannes Film Festival awards.
One of his last films, Rust and Bone, starring Marion Cotillard. It is still a mystery to me how they did it. The thing is, Marion is playing a disabled person there, she has no legs. Graphics can take that away, but the way she moves is like she really doesn't have legs. I think it was special training long before filming.
Like all the stories told by Jacques, this one is very lifelike, about real, simple, ordinary people who have some trials. How they adapt and cope with them on a psychological level to learn to live again, to live well.
I really liked the ending. You will be so happy through the tears!
Not familiar with the source, and the film does not cause a desire to get acquainted at all. I am not familiar with the previous works of director Jacques Odiard and thanks to this work, I will definitely not get acquainted soon.
I wanted to watch the film because of the main role – Marion Cotillard. Recently it has been interesting to watch her work. Before viewing did not go into the details of the plot, and here it is not necessary. People who read the description of the film will immediately note to themselves that this is a dramatic film about a difficult situation in the life of a woman who, by the will of fate, becomes disabled and then, as is customary in all films of this genre, there will be an abundance of acting, morality, perhaps some novelty and all this is seasoned with a share of humor. No, that's not the movie. It is far from a movie with a similar plot, even more.
From the first shot, we see a single father, battered by life, who is left without housing, without means for subsistence, but with a child whom he would be happy to get rid of. What he does next, moving to live with his sister, thereby removing all responsibility for his son. All these actions develop very crumpledly, precipitously against the background of good, even fascinating landscapes of small communes of France. You might think that all this is in order to quickly move to the main plot of the film, on which it should be built. But you're wrong here.
The second, key, character of the film is a young girl who works as an orca trainer. During his next performance, an accident occurs, which leads to what the plot should wrap around. However, here we also see a crumpled story. But, in fairness, it is worth noting that the viewer will be able to catch all the significant details, which means that this method of narration is not bad.
At this stage, we were introduced to the two main characters. They were put into the game, so to speak. But everything that will happen next is more like a draft with sketches of certain scenes and replicas. Definitely, it looks unfinished and meaningless. I expected to see a completely different development of the relationship between the main characters, the development of the plot. But neither the first nor the second received.
In parallel, reflecting on why the film is called “Rust and Bone”, many other questions arise. With the title, I decided for myself – the film is “author” with a swing at the art house, it should not have a simple name, let people look for meaning where there is none. Seriously, if you discard all these guesses about the taste of blood (rust) and loss of legs (bone), then complete nonsense comes out. But remember that there is a source with the same name. Let it. But how do you find morals and meaning where it doesn’t? What about this? I'm sure you can find meaning in the flying bag if you want, but here I refuse to do that! The film is so empty, immoral, absolutely not causing sympathy, sympathy, even pity.
The only thing I wanted to watch was Marion. But here I want to say that because of such a bad plot and other components, Marion did not get the platform on which he could reveal more than half.
A few words about the music in the film. The soundtracks that played there are familiar to many, perhaps like, but hearing familiar motifs in the film, do not be surprised if you will not leave the strange feeling that they are out of place, this feeling did not leave me either.
I don't think this movie can be spoiled. It’s like a Jarmusch movie, but it doesn’t make sense.
4 out of 10
The north of France is not cold, but gentle and warm, not harsh, but not virtuous to its inhabitants living near the sea coast. Luxurious and alluring Antibes, in which brilliance and poverty exist parallel to each other, hardly intersecting. It was here that a difficult guy named Ali brought, who remained at the broken trough of his own life, without any positive prospects, but with a small son in addition. And the will of the same fate, Ali is faced with an accident-affected woman Stephanie. Opposites attracted, rust spilled red gold on a fragile bone, but is it destined to be a happy end?!
The film-participant of numerous prestigious European film festivals, including Cannes, Telluride and Munich, the sixth major full-length work of the famous French director Jacques Odiard, the son of no less outstanding Michel Odiard, the picture “Rust and Bone” in 2012 hardly belongs to the category of familiar to many viewers and completely typified and stereotyped French film romance, presenting itself at the output not a manipulative tabloid melodrama with intentional exaggeration of feelings and emotions, but a serious one with such a serious reality, according to which it appears as a serious one.
For the second time in his career, turning to the prosaic literary heritage of writer Craig Davidson (earlier, on the basis of his work, Odiard shot his most notable film “The Prophet” in 2009), successfully assembling the plot motifs of his stories “Rust and Bone” and “Riding on a Rocket”, Odiard actually made a movie in which the story of love of two people united by the complexities of their existence is put forward. Occasionally resorting to the metaphorical nature of the general narrative, and then at a level quite simple and understandable, Odiard told the audience in his picture, completely devoid of any inspiring stalled optimism, about two heroes united by a common weakness.
If Stephanie's is bodily, Ali's is psychological and moral. He is not able to control his own course of life, through which he simply swims, not always successfully adapting to new conditions, without having a stable job, stable earnings, stable human relationships - he is nowhere his own, but not at all a stranger. In his character, covered with the rust of doubt and dissatisfaction, there is the desired male core, there is power, but his mind is not directed to the prospect of the future. The viewer meets him in the position of a complete loser, who has almost nowhere to find comfort and shelter. Without infantilism, but without inner progress, Ali is full of alienation, and a young son is like a rebuke for his mistakes.
The appearance in the life of Ali Stefani colored his existence (alas, but what was before her, can hardly be called life) with new colors. He finds meaning in it, finally understands that it is necessary to live not for himself, but for other people who contribute, albeit not always explicitly, to the healing of mental wounds in the peak of bodily injuries. But a truly remarkable fact in the film “Rust and Bone” is that this seemingly soap operatic story about a Man who was recreated by aki Demiurge Woman, who, for all her bodily maiming is beautiful, does not fall into the simple marasm of non-trivial morality, does not go into mythologization and tragicomy, for example, “The Untouchables” / “1+1”, while remaining quite logical, sometimes even cynical, a film, permeased with obvious rearism and lightness. The main characters in the open finale of the tape change, but these changes do not give the totality and fundamentality; behind them too much and tangible life baggage, but they need to be together, otherwise melancholy and death.
Odiard is not inclined to deliberate idealization and romanticization, he, if you will, ruthlessly cuts the truth of the womb, while remaining a humanist for whom a person, whoever he is, is still perfect in his flawless impeccability. And, being in fact a continuation of the prison parable “The Prophet”, “Rust and Bone” becomes a kind of quintessence of Odiard’s artistic and cinematic studies, not a manifesto, but a call to modern people, whose souls have grown rust and bone, not to remain deaf, blind and dumb, in the end, to be human even when this is impossible. A too direct humanistic appeal in the age of postmodern death dances and deviant authorial macabras. However, having absorbed all the traditions of French cinema of the twentieth century, Odiard in this century looks like one of the few apologists of humanism in modern cinema, far surpassing his own father in talent.
Jacques Odiard makes an unpleasant in its roughness film, which clings to the viewer every minute of viewing, almost strokes sandpaper on the blood erased fingers. Its main characters are problem people, people of chance, who collide with each other at the behest of fate and meet again for the only possible reason of the loneliness of their lost souls. Creatures with a crumpled past and an uncertain future, in which there is not only light at the end of the tunnel, but also the tunnel itself, there is no way anywhere - only a sucking void somewhere in the chest. Where the Heart should be, but really just a blood pumping piece of muscle.
From Ali rushes out a wild beast, a ruthless fighter who dreams of becoming a champion, but as if in reproach of his own selfishness taking responsibility for the fate of his young son. Stephanie likes to be in the center of male attention, smoothly move his hips to dance rhythms, fall deep into greedy glances, turn on, excite and leave with nothing. Heroes rotate in completely different spheres, but their trajectories intersect, first by chance - in a club fight, then deliberately - she calls him months later, lonely, cut off by an accident and continues her path down a sloped path. Two disabled people meet again, one limited by their own perception of reality, the other shackled by mutilation, but both are almost akin to their own grotesque shadows on the asphalt leading to nowhere the road of change. Odiard deliberately keeps the characters in a borderline state, every minute emphasizing the seemingly hopeless story, ruthlessly makes you look into the eyes of the situation, but does not seek to draw any conclusions. The controversy of the film is limited by the history of perverted relationships, deformed not so much because of sexual addictions, but because of spiritual deviations, otherwise only a simple statement of facts appears. Although the plot makes attempts to wash away, erase the sins of the heroes with a metal sponge, but in fact only opens old wounds, causing them to bleed with new force.
Odiard notes the main plot points, but as if he can not or does not want to sketch the path of movement. “Rust and Bone” seems to consist of squeezing key moments, here each episode is worthy of attention, but there is no single mechanism, rather, the main details are simply laid out according to the scheme, between which there is no necessary dynamic connection. But such a plot static allows you to fully assess the hopelessness of the situation of the heroes and feel that in the end allows them to get closer. Ali and Stephanie perceive each other “as is” in an amazing way from the very beginning, without being interested in any causes, leaving the past in the past and taking into account only today. Being only a meager likeness of themselves, with an inexhaustible feeling of being beaten up because of the vicissitudes of life that have happened, the heroes drown their own stupid agony, hide in personal meetings the fact that both of them are driven beasts, broken, but still have the necessary strength to rise from their knees and go on. But where do we go? The end point of their path remains unclear, hidden under a thicket of murky uncertainty, in which it is almost impossible to see the fire of hope.
It seems that this verbose story could be played in front of the audience without words - everything is decided by frames, mise-en-scene, looks and gestures. “Rust and bone” attracts to itself thanks to the hollow bulldog-Shonarts and Cotillard, who by the mere movement of her hands outlines in the air all the bitterness of her loss. Odiard deliberately exploits his own characters through the actors who play them, perhaps not interested at all in how this story may end. Pain on Stephanie's fingertips, feeling empty where warm flesh used to be. Pain on the broken knuckles of Ali’s fists, in which hundreds of injections from bones crushed on the ice can fall at any time. The pain of knowing that they can both lose the remnants of themselves forever. These feelings will always be with them, inside them, forcing them to fight fiercely not even for the future, but for the hope that this future will certainly come. That it exists even for outcasts like them.
Dedicated to my beloved daughter A Lover of Cinema.
To be honest, I expected more from this movie.
It was clear that cinema was not for everyone, but even such films must have a causal relationship in the script. And she, in my opinion, is absent. All the "why"? Why does a beautiful, young and successful woman go to a tavern alone while her boyfriend is waiting at home? Why is she so defiant that visitors mistake her for some whore? Does she lack the thrill? Trainer of predatory and ferocious killer whales? Why does she not talk to anyone after an injury, but calls the guy she has seen for five minutes in her life?
Why is the main character going to live with his sister? Where is his house, what did he do, why did his son grow up with his mother, who used the child to transport drugs? Where was he at that time? What family did he grow up in, that even without seeing his sister for five years, he wouldn't hug her when he met her, and she wouldn't hug him? By and large, he is not quite an insensitive beast, yet he does not abandon his son to the mercy of fate, he rescues Stephanie, takes her all the way home, because she drank and she can not drive, he immediately responds to her call after injury. Why did he not make a boxing career before, and now with crushed brushes running and with a song?
Operator work also leaves much to be desired.
Acting. Well, about the main character Stephanie, played by Marion Cotillard, there are no questions - she is great! Shaunarts is a problem. In this film, I was convinced that he could not play. The description says that the director wanted to take on the role of a non-professional actor. Well, that's what happened. Here it was not only necessary to wave and beat your head with your fists, but also to play with your face and eyes. Especially in the scenes on the lake and in the hospital. There, even his face is not shown close-up, because it was necessary to portray pain and suffering, and even he realized that he needed Stephanie, that without her, he knew that he loved her. It is impossible to show or express it with a stone face. The rest of the actors are just going in the background. It doesn't really affect the story.
Oddly enough, the film leaves positive emotions, although heavy and slightly delayed. We all need help, no matter how strong we seem. And if a physical disability is visible immediately, then there is no emotional one. And there's a lot more emotionally disabled people, except you don't see them right away. And it is much easier to fasten prostheses and become like other people than to settle in your soul love, compassion, responsibility for loved ones, conscience.
At least once is worth seeing.
But one day the pain will come back... like needles... like broken glass.
I want to talk about some films for a long time and get inflamed with various sophisticated epithets, but there is no desire to talk about this film for a long time, honestly. It's hard to say why. After some films there is a sediment of understatement and cold, from some there is a feeling of inspiration, spirituality and warmth, and from some - devastation and irresistible heaviness. And there is always something to say about it, but now I have no words.
Is it worth talking again about how brilliant and brilliant Marion Cotillard is? I don't think that's a priority. The contemplation of such a strong, inconceivably strong game was not easy in itself, let alone how indescribably difficult it was to play. Of course, Matthias Schonarts is obviously not enough to the level of Cotillard, but he was very good. His performance was no less convincing than that of Marion Cotillard, although the degree of fundamentalism and depth of their characters simply cannot be compared, which still does not detract from the worthy acting qualities of Matthias Schonarts.
This film, first of all, is about the endless will to live, about the strength of this very human will, about the strength of characters and the impenetrable perseverance of the most ordinary people. This film clearly shows one simple truth: the human spirit is stronger than the body. No matter how badly the body is injured, mutilated and mutilated, a person will always have an unharmed soul that can help him overcome absolutely everything.
In the film, of course, there are many flaws that catch the eye, and it is because of them that Rust and Bone is only a nominee, not a winner of the Cannes Film Festival. I think everyone will highlight their disadvantages of this picture and treat them differently, but personally, these shortcomings do not allow me to paint this review in green.
Summing up the final line, we can say the following. If you are a fan of Marion Cotillard, I recommend this film. If you are a fan of European cinema, I would certainly recommend this movie. And if you liked movies like "127 Hours" and & #34... And in the soul I dance, then this movie you will like, and to taste.
8 out of 10
The north of France is not cold, but gentle and warm, not harsh, but also not virtuous to its inhabitants living near the sea coast. Luxurious and alluring Antibes, in which brilliance and poverty exist parallel to each other, hardly intersecting. It was here that a difficult guy named Ali brought, who remained at the broken trough of his own life, without any positive prospects, but with a small son in addition. And the will of the same fate, Ali is faced with an accident-affected woman Stephanie. Opposites attracted, rust spilled red gold on a fragile bone, but is destined to be a happy end.
The film-participant of numerous prestigious European film festivals, including Cannes, Telluride and Munich, the sixth major full-length work of the famous French director Jacques Odiard, the son of no less outstanding Michel Odiard, the picture “Rust and Bone” in 2012 hardly belongs to the category of familiar to many viewers and completely typified and stereotyped French film romance, presenting itself at the output not a manipulative tabloid melodrama with intentional exaggeration of feelings and emotions, but a serious one with such a serious reality, according to which it appears as a serious one.
For the second time in his career, turning to the prosaic literary heritage of writer Craig Davidson (earlier, on the basis of his work, Odiard shot his most notable film “The Prophet” in 2009), successfully assembling the plot motifs of his stories “Rust and Bone” and “Riding on a Rocket”, Odiard actually made a movie in which the story of love of two people united by the complexities of their existence is put forward. Occasionally resorting to the metaphorical nature of the general narrative, and then at a level quite simple and understandable, Odiard told the audience in his picture, completely devoid of any inspiring stalled optimism, about two heroes united by a common weakness.
If Stephanie's is bodily, Ali's is psychological and moral. He is not able to control his own course of life, through which he simply swims, not always successfully adapting to new conditions, without having a stable job, stable earnings, stable human relationships - he is nowhere his own, but not at all a stranger. In his character, covered with the rust of doubt and dissatisfaction, there is the desired male core, there is power, but his mind is not directed to the prospect of the future. The viewer meets him in the position of a complete loser, who has almost nowhere to find comfort and shelter. Without infantilism, but without inner progress, Ali is full of alienation, and a young son is like a rebuke for his mistakes.
The appearance in the life of Ali Stefani colored his existence (alas, but what was before her, can hardly be called life) with new colors. He finds meaning in it, finally understands that it is necessary to live not for himself, but for other people who contribute, albeit not always explicitly, to the healing of mental wounds in the peak of bodily injuries. But a truly remarkable fact in the film "Rust and Bone" is that this seemingly soap operatic story about a Man, who was recreated by aki Demiurge Woman, who, for all her bodily maiming is beautiful, does not fall into the simple marasm of non-trivial morality, does not go into mythologization and tragicomy, for example, "Untouchables" / "1 + 1", while remaining quite logical, sometimes even cynical, film, pronezanism and light realism. The main characters in the open finale of the tape change, but these changes do not give the totality and fundamentality; behind them too large and tangible life baggage, but they need to be together, otherwise Trier’s melancholy and Lynch death.
Odiard is not inclined to deliberate idealization and romanticization, he, if you will, ruthlessly cuts the truth of the womb, while remaining a humanist for whom a person, whoever he is, is still perfect in his flawless impeccability. And, being in fact a continuation of the prison parable “The Prophet”, “Rust and Bone” becomes a kind of quintessence of Odiard’s artistic and cinematic studies, not a manifesto, but a call to modern people, whose souls have grown rust and bone, not to remain deaf, blind and dumb, in the end, to be human even when this is impossible. A too direct humanistic appeal in the age of postmodern death dances and deviant authorial macabras. However, having absorbed all the traditions of French cinema of the twentieth century, Odiard in this century looks like one of the few apologists of humanism in modern cinema, far surpassing his own father in talent.
10 out of 10
Life very often brings us unbearable suffering and pain. In such moments, it is very important not to break your spirit, but to fight suffering and just continue to live and enjoy this life. Cinema has repeatedly paid attention to this problem, but only a few films were able to convey to the viewer the main idea, as this idea was conveyed by the French drama Rust and Bone.
Synopsis Professional kickboxer Ali is forced to move with his son Sam, whom he almost does not know, to the Cote d’Azur of France to his sister, with whom he has not spoken for 5 years. Here he meets Stephanie, an orca trainer with whom he seemingly has nothing in common. However, one accident changes Stephanie's life - she has both legs amputated. Then she finds support and a way out of depression with Ali, who treats her like an ordinary person.
Game of actors In fact, the actors perfectly coped with their task and at the same time managed to embody unique characters on the screen. Matthias Shonnarts embodied on the screen the image of a confident, but not a family guy named Ali, who tries to live as it is convenient for him, what inspires Stephanie, but because of what almost loses his son. Marion Cottiar played the role of a former trainer of orcas Stephanie, who after an accident loses her legs and the most important joy in life is her job.
Directorship Jacques Odiard filmed a deep psychological drama and the human resilience and will that sustain life not only in the body but also in the human soul. The director shows us the main character a rather cynical and cruel person who occasionally shows warm feelings. However, Stephanie’s appearance changes our perception, and we understand that we are a good person and a caring father, ready to do anything for his own son and for the woman he loves. However, the direction lacks dynamics, and therefore the picture may seem long.
Scenario The plot of the film may seem simple and unremarkable, but it is not. The main characters represent two completely different images with their own interests and ambitions. However, both are in dire straits, and both support each other as a result. Yes, the main character with his unsentimental attitude helps the heroine to get out of depression, but she also helps him change for the better, change his attitude to others, including his son, whom he now sincerely loves.
"Rust and Bone" is, of course, a very unusual and candid movie. However, the most important thing that distinguishes the picture is its naturalness and sincerity. The situation in the film is more real and can happen to anyone. The main thing is whether people can learn a lesson, as the main characters learned, who eventually found happiness.
A cruel reality that helps you believe in destiny.
Beginning. I love movies with kids. Probably because I believe that children reflect all the sincerity, humanity, heart of cruel reality. Just like this. There is a family tragedy: son and father. A little boy, for whom this time in life should be cheerful, bright, memorable; The father, for whom his five-year-old son has become the “discovery of the century”, doesn’t know how to treat him, at the beginning of the film he doesn’t even realize how much he loves him. Only these two lives are complex and problematic.
Culmination. Then comes the girl whose life is broken. It is very difficult to understand a person who has lost support in life. Quite literally. You do not know how to behave with him, what to say, whether to offer your help, and this is so to put everything so as not to hurt his feelings. The main character from the very beginning chose the right tactics of behavior: the girl immediately felt protected, full. Communication with him brought her back to life. And she helped. Became his friend. Our heroes came together because of their problems, which were able to solve each other.
Decoupling I have never seen the saddest ending anywhere. The tragic moment came when the father and son were walking through the winter forest and found a frozen lake. When the boy fell under the ice - my heart went to the heels, tears came to my eyes. When Ali didn’t know how to get it, and then he started hitting the ice with his hands and head, I couldn’t see anything because of the tears. So subtly convey this picture, the terrible mood in it, can only a talented director. This last episode is more terrifying than any horror movie.
The end. The end of the film inspires faith in miracles. Or maybe not in miracles, but in the fact that people need to reconsider their values. All love in all its manifestations!
Rust and Bone is a deep and strong atmospheric French drama, and one of my favorite films of 2012. The movie turned out to be dramatic, touching, unusual, shot purely in the European spirit, and when watching you are in a stupor and in shock. His story is full of pain, despair, tears, but it also has hope, love and something pure but harsh. This drama impressed me and I thought about it for a long time. It’s lively and believable, and I’ve included this film in my list of favorite cinematic works.
We see a father alone and his little son. He moves to live with his sister and starts life with a clean slate, because he has nothing behind him. The main character likes violent fights, and he wants to make a living. Accidentally, he meets a beautiful girl who trains orcas, and soon a tragedy happens to her, and she loses her legs. We see their communication, friendship and love, and this story takes the viewer into something attractive and unshakable, and the film immerses and catches with its dramatic story.
It was possible to shoot this drama much more banal and ordinary, but the director Jacques Odiard gave it exclusivity, atmosphere and unreal attraction. Oscar-winning actress Marion Cotillard is a wonderful and strong French actress, and she always plays complex dramatic roles, and in this drama she conquered me, and it is impossible to break away from her. There is so much pain, life and depth in her eyes, and she created her character with a strong personality that I really liked. She is not lost and also lives and fights for her happiness, even remaining disabled. Previously unknown actor Matthias Schonarts impressed me in this drama and he played very emotionally and believably. His character turned out to be a mysterious and interesting character, although he is controversial. The duet of these actors I liked, and instead they looked great, especially their swimming in the sea and beautiful love scenes: it was unexpected and spectacular, and most importantly believable and lifelike. There are a few moments in the film that are really shocking and discouraging, and when you watch it, you sit in anxiety all the time. The main character was very sorry, and Marion Cotillard was undoubtedly the heart and soul of the drama. The scene when the boy fell under the ice leads the viewer into a stupor and is extremely shocking.
The film is heavy and with deep thought, we see all the pain and despair that the main characters are going through, and the whole story is shown dramatically and touching. I was so impressed with this movie that I wanted to watch it again. Rust and Bone is a drama with a taste of melodrama about a fateful turn of fate, about pure feeling, about hopes and never fulfilled dreams. This film is very clean and not watching it, I think it means really losing a lot.
9 out of 10
I liked the film, but only with the shots where Cotillard was, her story, her life could captivate me, and most importantly, distract me from the annoying, inhuman carelessness of the main character.
An illiterate loser, part-time father, which he forgot throughout the film, even when the script was supposed to remind him of his son, it was little like caring, more like a surge of fatherly instinct, but the tide was too soon, moves to his sister, whom he had not seen for many years and fuses her son. Then he finds a job he doesn’t care about, starts fighting for money just because he likes it and that’s his whole life. He has no aspirations, desires, goals, he reminded me of my cat, who lies on the couch and licks his balls, even five differences I can not find. Naturally, the idea was different and you will feel it while watching, but presented it somehow superficially, without tearing, all its vicissitudes did not cause me a single empathetic emotion, except for only one tragic scene on the lake and one that once again shows its carelessness.
There is no child role in the film at all, the dummy could perform no better, but also. The only thing that kept the screen, of course, was Cotillard, only her character was able to cause me at least some emotions. In movies, they often use the theme of disability, how people cope with it, try to live on, I have seen many such films, life-affirming, very useful for the viewer, this one can be attributed to them with a great stretch, for me it is one of the weak. Although I liked how the topic of femininity, perception of oneself and of course sex is revealed, he is also a disabled person, with all his needs, you need to understand this and perceive it not only to others, but also to them in the first place.
Of course, I expected more from the film, I was familiar with the early works of the director, I am fans of Cotillard’s talent, so I expected something special, although, as psychologists say, if expectations are deceived, it is your fault. The film is not bad and will find its viewer, so I wish
Enjoy the viewing!!!
I don’t want to see the movie for the second time. But I don't regret watching it. The film is not bad, but a little tiresome and keeps in suspense, I think it could be arranged in an hour and a half, rather than stretching to two.
Intriguing plot, it was interesting to watch as a pupil of killer whales, and in the evenings the club breakaway will overcome its difficulty. Despite her lack of legs, she managed to adapt to a new lifestyle. A noticeable contrast from a disappointed in the life of a smelly girl, to a confident and full of energy young lady.
Musical accompaniment 5+, very correctly selected composers music, at the right moments gets to goosebumps. You look and realize that even the absence of limbs can not destroy your life.
As for the guy, I did not like him, some negligent attitude to his son, to life... it is clear that he wanted to live for himself. And you can see it in his priorities: I'd rather fuck a fitness trainer than take my son out of class. And then with the appearance of Stephanie in his life, he begins to settle down. And pleasantly surprised at the end of the film. These fatherly feelings, the way he fought for his son's life... the way he talked to Steph on the phone... the way he squeezed out the word "love." This is all impressive, despite the fact that initially their relationship was verbose and emotionally enslaved, and what was going on in Ali’s head was generally difficult to unravel. Such mysterious guys are in fact tense.
The film shows that you must always be above the circumstances and fight for your life.
Melodramatic Blackmail: Marion Cotillard and 33 Misfortunes
It's warmer south. Perhaps this is why the semi-cheeky former boxer Ali and his son move from the north of France straight to Antibes, near Cannes, where winters are still warmer, and the sea is always at hand - and, of course, the presence of the sea is an extremely important thing for such unassuming people as Ali. And the main character neglects his son for a better scenario effect: he can smack his head on the table if he gets tired. In general, according to Odiar, brutal men are contraindicated to have children - this is evident even in the final plot trick, which, in theory, should finish off the sentimental stick of straight drama even the viewer with a stone heart, but, looking ahead, I want to note that this technique in the end will not work. Also in the peak of the “tragedy” of the hero Shaunarts, an unsightly life is flaunted, full of torment and no less deprivation than that of Ali, the former (again) trainer of orcas – Stephanie (Cotillard), who before losing her legs was (sic!) another bitch. But life is complicated, you have to change. And here this unpretentious, sometimes horribly simple scenario pits two crippled heroes: an emotional disabled and a legless one.
Super-overrated in arthouse circles, the French director Jacques Odiard, probably, thereby tried to rhyme the story, and, in general, he succeeded, but with some reservations - characterographic sketches (he [a real man] - a person who can be relied on, even if he is stupid, stubborn, and insensitive; she [a real woman] - weak, vulnerable, in need of help and care) are rather a sad spectacle, the plot does not develop, but loops, to say that the main character is not found her lover, in the beginning, he simply does not understands how much of her son Ali's crime. At the same time, there is a brazen flirtation with the viewer "here, see how real love is born in ordinary people" - and here Odiard's picture is in a strange position: on the one hand, there are not enough Hollywood sentiments here, and the finale remains open, on the other hand, the film is European household, on the verge of radicalism, all the hardships of life on the Cote d'Azur are presented in moderation shocking to the ordinary public (here and slow-mo boxing fights (as without this), and knocked teeth close-up, and Kotya stubs are not sharp enough for critical. "Rust and Bone" gets stuck somewhere between art and the mainstream - it's both a plus and a minus of the picture. Of the few advantages - the game Cotillard, emasculated picture (apparently, it was done to please the mass public and to balance the household unsightly imagery of some frames and the sentimental-semantic collapse of the second part) and the fascinating fatalism of scenes with killer whales (orcas are wonderful). Of the major shortcomings, one can distinguish the template of characters, the stupid development of characters, or rather, their full real estate; no, of course, something in them changes, but they change only because a person is an animal more tenacious and can adapt to anything; life has set the bandwagon - do not boil, but at least just cling to the same loser that you yourself are. Together and more fun, together - through all adversity.
And perhaps the main embarrassment made by the Frenchman Odiard, the everyday history of ordinary people in an ordinary city on an ordinary Mediterranean coast suddenly begins to give notes of falsehood, when love, family, peace, gum are stuffed into it for some reason and not that everyday horrors are etched out, but just narrative logic. Brutal Belgian Mathias Schonarts is so brutal that he can easily change Marion Cotillard from the first meeting, forgetting about the spiritual connection, friendly sex, companionship, her cultivars, in the end. Really, then, why did you have to start this fuss with hints of something more? With hints of a possible family? And this last shot, where Ali is already as a star interviewing reporters before an important fight, and Stephanie stands a little bit on the sidelines, updated and in some ways happy, she may have recovered and become stronger, but what about him, has he become a normal person, capable of at least some empathy? Apparently, Odiard's masculinity is synonymous with insensitivity and hopeless stupidity - but within the framework of the sentimental plot construction, this idea is not that not obvious, it is almost ghostly, because the macho here remains macho, hardening together with his girlfriend. And why in the end is money, fame, success? Right, because steel is tempered by fate, but the Côte d'Azur is not a zone, so in fact you can not change, remaining yourself, we blame everything on the vicissitudes of mother. After all, you do not need to do anything, it is enough just to soften and reduce your arrogance. No, in fact, it would be better if Odiard continued to shoot criminal dramas with dead characters-stencils - there at least you could attribute the unrealistic nature of what is happening to the laws of criminal drama and do without this love-fatalistic falsehood.
Stories of physical flaws are increasingly gaining momentum in the film world. Many people compare Rust and Bone to the sensational 1+1. In general, in my opinion, there is not so much: if "1 + 1" is the most life-affirming picture, then "Rust ..." leaves some questions.
First, Ali (Mattias Schonarts), who not only bears the name of a great boxer, but also trades in battles - it is difficult to imagine a more repulsive character. And it is not that he is a negative hero (in fact quite the opposite), it is in his behavior and life position. He takes his 5-year-old son from his mother, where the toddler was allegedly dealing drugs. But what kind of life can he offer to an exhausted child? Of the two evils, we choose the lesser: now the child lives with his sister Ali, spending his lonely childhood with the breeder’s dogs, periodically receiving force from his father. The father himself, meanwhile, gets a security guard, but such honest earnings are not for him, he goes to all sorts of tricks, just to earn more. The trick is to fight without rules, in which Ali, on the one hand, can throw out his aggression and accumulated energy, on the other hand, is acceptable and quickly earn. At the same time, he does not cease to shoot girls, leading an absolutely disordered sexual life, and with the money earned he buys his son a toy truck, although the baby is dressed in unnecessary things of neighbors. In general, total irresponsibility on the part of the so-called parent. For me, his character became just disgusting, and every scene of the fight I waited for his kidneys to break off. However, some internal force forces Ali to help Stephanie, a disabled person at the time. What drives him - whether sympathy, sympathy, or thirst for sex - the director does not bother to explain to us. And the final monologue of Ali, allegedly instructive, for me became simply ridiculous.
On the other hand, I really liked Marion Cotillard's character - Stephanie. And although at first she looks like a drunken and self-confident dissolute woman, then we see the nature of her activity, her suffering, her loneliness, her struggle with her mutilated body, and we understand that it is not necessary to break her. On the other hand, her character is rich (returning to “1+1”), well-off with all means, contacts poor Ali, but there is no financial relationship between them, and Ali does not read Stephanie’s moral instructions. The girl is struggling with her own difficulties. If every actress receiving fabulous royalties, at least one role could live as Cotillard lived, then many Hollywood beauties we would perceive from the other side: not beautiful wrappers, but filled and whole. Because Stephanie inspires strength and confidence, although her behavior seems to me somewhat exaggerated.
Such paintings are built on emotional perception, and do not shine with all sorts of effects, expensive interior and rich clothes. It's just a bare nerve, though for everyone at different times. For me, the most tense was the shot with the rink, when Ali is facing us, and in the background, the action takes place. Here at such moments the heart really beats more often, and the denouement occurs with maximum sharpness.
In general, the picture turned out to be dynamic, and such a denouement is not expected.
I wouldn’t say Jacques Odiard’s Rust and Bone surprised me. A typical European political correct film, broadcasting to the viewer very clear and difficult truths of our time: tolerance for other religions, acceptance of poverty, equal rights with the disabled and increased attention to children.
It all begins with how we meet the main character, whose name is very simple and clear - Ali. Ali is a simple man who earns a living through clandestine fights without rules and is not at the top of the social ladder, has significant cash problems. His unexpected acquaintance with a young and confident girl probably did not imply any continuation.
But her tragic loss of legs became the starting point for their joint intimacy. It is nice that the creators of the tape did not cunning and showed very frank scenes with the participation of a disabled person. This gave the film a special whistling - we were, in fact, once again very directly and unequivocally pointed out that disabled people have the same opportunities. Who would argue.
Talking about the concept, many storylines seemed to me very predictable and superfluous. So, in particular, I thought the tragedy with a little boy was superfluous. It was superfluous to cover the battles in detail.
Who knows. Maybe there really was such a story. I won't argue. But, in the presentation of Jacques Odiard, everything turns out to be conceptually too far-fetched.
But the actors were pleasantly surprised. Marillon Cotillard doesn't have to work too hard. She has an over-expressive appearance. It relays the experiences without much difficulty.
However, in this film we will not see the “suffering-in-waiting-nomination-on-Oscar” of another “Great” actress. Cotillard will behave simply and at ease. When necessary, sad, when necessary, arrogant, and when necessary, sexual. But it is in this immediacy that the successful execution of the role lies. Very accurately, it "came" into all the logical stresses of the tape.
For me, there were two indicators of her game. First of all, these are love scenes and everything related to them. Well, also the scene where she negotiates fights. At these key moments, the viewer simply had no choice but to delve deeper into the narrative.
Needless to say, before the fixation of sex with a disabled dared very few. I only remember Peter Medack and David Cronenberg. But Odiard just sets new rules in this matter.
Lucky for her partner. Matthias Schonarts is not a particularly famous actor, but he added dynamism to the tape. Sharp, feeling, restless and struggling with all obstacles - his hero was portrayed very accurately. I think that in the next works of Matthias we will see an even more mature actor.
Well, going back to the film, I was not too pleased with the triviality of its storylines, as well as the obsessive linearity of the characters. But despite all the shortcomings, the picture looks easy Thus, we get an easy European version of the “Rain Man”, taking into account numerous modern vectors of tolerance.
6 out of 10
Alan (Shonarts) escapes from his hometown with his son Sam (Verdur) and moves to live with his sister. In search of work, he gets a bouncer in a bar, where he meets Stefania (Cotillard) - an unhappy in his personal life trainer of orcas. After some time in an accident, Stephanie loses both legs, and one of the few who does not show her intense sympathy and false participation, it turns out Alan. Over time, they become more than just friends.
For a long time I could not gather my thoughts to write my opinion about this film. One thing got in the way, another. And after a few weeks it became clear that to write that, in principle, and not really want. The film did not live up to expectations, it did not linger in my head for a long time. Don’t get me wrong, the movie is good. But if you read the laudatory reviews that professional critics wrote about him, and estimate the number of nominations for prestigious awards, then you should expect if not a masterpiece, then at least a picture that will easily take a place in the ten best films of 2012. But no, it didn't.
Well, I can't really sympathize with either Stephanie or Alan. The trainer who lost her legs, of course, fell into a binding, God forbid anyone, however, when you look at the triumph of European medicine and see how she is running fast on high-tech prostheses in a few months, even if you kill her, and the tear does not drip. And even more so, Alan does not cause any warm attitude to himself - as a father, weak as a worker - spineless, as a lover - unreliable, as a fighter - insane. Frankly, he was lucky that, with all his qualities, he met exactly those people who helped him to open up as much as possible.
However, with these shortcomings, the film is good precisely for its stingy, “slowed down” atmosphere and the mental connection that, like a string, stretched between the two main characters – there was nothing superfluous, vulgar, unnatural, pathetic and overly tearful in it. Perhaps this is what the picture caught the attention of the audience – sincerity in the relationship between such far from ideal people. And legs, fights without rules, raising a child, social background - this is all the background, which, unfortunately, turned out to be excessively blurred.
8 out of 10
While the French passed a law on the legalization of same-sex marriage, and this fact was quite actively discussed in the Russian-language media and blogs, on our screens almost imperceptibly passed the picture with the sour title “Rust and Bone”. In it, one of the leading directors of our time, Jacques Odiard, in a characteristically tough style, affirms the classical gender model, where the relationship between a man and a woman is more like the relationship between two wounded animals - a male and a female, because only such, according to his ideas, can survive in our far from perfect world.
A young, pretty trainer of orcas Stephanie, due to inattention (or arrogance), receives a serious injury during the performance, incompatible with the life of her lower extremities, which she eventually amputates on the most that is, knees. Until now, the successful life of a sea creature tamer immediately takes a new countdown, marked by the loss of work and personal life. But luckily, fate brings Stephanie with the sullen guard Ali, an outsider and a marginal, who is imbued with feelings for a depressed disabled woman and helps her awaken a seemingly completely lost interest in life. He himself at the same time makes a successful business, grinding with his weighty mallets the same fat-necked men who are trying to earn a living, participating in battles without rules.
Despite the slurred message, which, admittedly, it was difficult to expect from Odiard, the film manages to keep attention for all two hours, heating up not always healthy interest in itself with brutal, then perverse scenes. Poorly disguising the boulevards learned from the novels of Canadian writer Craig Davidson, Odiard remains true to his principles, reasserting (like Fyodor Chistyakov of Zero) a purely male code that “the school of life is the school of captains.” Following this rule, Ali tries to bring Stephanie back to life, preventing her from coming to terms with an unenviable new situation.
Thanks to his efforts, after a while, it becomes habitable again. And it is possible that her renewed attention to what is happening around her is fueling not so much Ali’s guardianship and firm shoulder as his interest in her as an object of sexual desire. Scenes of copulation of brutal macho and legless beauty make an impression not so much the erotic side, as with its disarming authenticity. Computer wizards toiled at fame, shortening Cotillard's legs exactly half. There is not the slightest doubt that below the knees they are indeed absent.
Women with disabilities are not the first to arouse the creative interest of this director. Let us recall at least the picture – “Read lips” (2001), where it was about not quite healthy union of a deaf lady and a bully. Combining spiritual defection and physical disability, Odiard seems to have tried to convey to the viewer the idea that only such an alliance can become the necessary breeding ground from which sprouts of mutual spiritual disposition can grow.
The director was hardly intrigued by the idea of filming something like a female version of “The Untouchables” (we have “1 + 1”) and finally get rid of any political correctness in the display of cripples. As a true Frenchman, he is primarily inspired by the theme of the relationship between a man and a woman, but almost completely denies them the sentiments familiar to the national cinema. Cruelty, hardness and once again hardness – this is the environment where these relationships begin and flourish. The very fact of this view of the nature of things makes Odiard a very special figure in French cinema.
Relatively modest indicators of interest in this picture in Russia (less than ten thousand viewers in cinemas) are explained by the fact that the film was released with subtitles (this service for the most part, the public has not learned to appreciate). And also the fact that by the time of the premiere, he had been hanging out in the open access on the Internet for several months (and there in translation). Therefore, it can be argued that Odiard’s last work went unnoticed, unlike France, where almost two million people bothered to see it. And even tiny Portugal gathered more viewers in cinemas than Russia.
I think the film will appeal to real connoisseurs of French cinema, especially dramatic cinema, and most of the moviegoers this spectacle will seem protracted and depressing.
I don’t think the plot is predictable, for me some moments were even unexpected. But the main advantage of the film is its realism. There is no falsehood, as if everything was filmed on a hidden camera. Especially touched by the moment when the main character breaks his fists against the ice in the hope of saving his son. The love line is not very detailed, but maybe it would be superfluous. Of course, in dramatic terms, the film is heavy, but the positive ending does not leave a sad impression.
Musical accompaniment as a game of actors at the highest level.
Summing up, I want to note the main idea of this masterpiece. “Gentlemen, do not despair, even when it seems that fortune has turned away from you and your life is not worth a cent. Man is a creature that gets used to and adapts to everything, the most important thing is not to give up and not to succumb to the villain fate!
8 out of 10
“I can’t run in a circle, I can’t – give me your hand!” – for some reason these lines from the not so famous song come to mind after watching “Rust and Bone”.
There's some strange residue left after watching. This is the main result of people thinking about the meaning of what they have just seen. I don’t know if they will share my opinion, but the film is very deep.
One of the important points I believe that a large ambiguous review is not worth writing, everything is extremely simple. The film can be characterized by many words that have certain qualities. They include love, openness, fear, struggle, gratitude, sex, life after all. It was life that was portrayed by Jacques Odiard. I haven’t read Craig Davidson, but I dare say that the film adaptation of the stories was successful.
A very interesting role for Marion Cotillard, who opened her new facets as an actress. Matthias Shonarts is a promising actor, I hope to see again, so dramatic and without a share of pathetic Ali.
I note that the music for the film (consisting of fashionable things), oddly enough, very suited to his moments. Good choice!
Continuing the scattering of emotions, I want to say that I was shaking and trembled inside the moment when Ali imagined that he was losing something that he loved deeply inside. It seems that Ali’s son didn’t receive as much love and affection from his father throughout the film as he did at the moment (I think one of the memorable ones) of the experience. Ali is an iron (metal), he raised his son as a real man as he himself considered necessary and without compassion.
Abstractly and realistically disassemble and unwind thoughts and images of this story will not be possible for everyone. This is confirmed by negative reviews for the film.
And most importantly, I will not rewrite the content either, I consider the description of the moderators sufficient. This is a story about people reaching out to each other so they don’t fall. In our selfish and not at all good times, such gestures seem so far-fetched, but I want to believe that there are still individuals who are guided not only by the state of their ass, but also care about the lives of others.
Thus, the conclusions of this story make each his own.
10 out of 10
My little list of big disappointments. "De rouille et d'os."
I love Jacques Odiard's films. His “Sur mes levres” is one of the best melodramatic thrillers, the genre of which was very popular in French cinema of two thousandth. Then, in 2005, Odiard directed De battre mon coeur s'est arrete - a good film, but clearly short of its predecessor. Winning the grand jury prize in Cannes in 2009, “Un prophete” I already, let’s say, did not quite like it. I didn’t like Odiard’s new film at all.
Two young people meet at the club. A handsome guy protects a beautiful girl and escorts her home, where he gives her a phone. A girl in the aquarium controls orcas for the entertainment of the public, but as a result of an accident she loses both legs. Desperate, she recalls a young man who, by the way, has a young son, problems with money and a place among the participants in underground fights. The guy's coming. The guy helps the girl swim in the sea, which she, of course, long waited for. Then he invites her to have sex. Then join him as a bet collector (I don’t understand the terminology, unfortunately) in underground fights. Then he suddenly leaves. Then corrected.
Everything.
And everything seems to be nothing, because in any melodrama without templates can not do, and besides “De rouille et d’os” looks and sounds very decent (thanks to the cameraman and sound director), but Odiard’s film kills not only templates. Besides them, we have constant inappropriate rapids, not the best script, created to connect the beginning and the end with a two-hour installation filled with optional scenes and - most importantly - the disgusting play of Matthias Schoenarts.
Partner Marion Cotillard is not only unable to play a completely simple image, but also for something constantly climbs to the forefront. It is clear that it does not depend on the actor, but it does not do Odiara the honor – seeing that his performer is deprived of all potential, he could put forward the magnificent Cotillard, and the film would only benefit from this. But no – the main character, it turns out, is the guy, and to follow his cardboard game and predictable, not impressive rebirth in the second half of the film boring and simply unpleasant.
To sum up: Cotillard is beautiful. Operator work and sound editing are quite tolerable. The plot is banal and boring. The movie is stretched. Shaunarts showed the world an example of almost the weakest game in cinema (in my personal opinion) over the past year. Instead of Odiard’s expected return, we ended up with a further immersion in mediocrity. Absolutely average film. And from the fact that it was shot by a brilliant director at the beginning of the two thousandth, I personally feel even more bitter.
5 out of 10
Rust and bone... one title of the movie "screams" how harsh the movie is. But this film will be remembered for a long time, despite the lack of delightful pictures, which is now fashionable in cinema. No, it's a different movie.
First of all, I want to admire French cinema again, and the talent of directors and authors to shoot masterpieces with deep meaning. I really appreciate that in movies.
The story of two people, a man and a woman - different initially, but the tragedy of the heroine, who magically played Marion Cotillard (about her later), united the two heroes together. If not for this tragedy, these heroes would never be together. They were united by the uncertainty that Ali - unable to find his place and unexpected fatherhood, as Stephanie, left without legs - almost helpless and no one needs. But together they found meaning, each in their lives. Stephanie's common call sign is "ope," which helped her understand that she's still alive, not existing. After all, with Ali, she was able to find strength and accept her new life. Stephanie, in turn, supported Ali in his addiction - participation in battles. With her, he returned to his path and realized the priorities and values of life.
And now for heroes and actors. Marion Cotillard perfectly played her character - Stephanie. Emotional play is at the highest level. I especially liked the moment she talked to Ali about her intimate life before and after the tragedy. She very clearly conveyed the awkwardness that the heroine felt, given her situation.
It was in this film that this actress opened up for me in a completely different view. I am pleasantly surprised.
Ali or Matthias Shonarts, in a word, bouncer. Perhaps Shaunarts' hero is not rewarded with a great mind. But he's still a man. Yeah, he chose fights. That’s because the energy out of it just sucks ... just substitute the basins. And then the actor played perfectly: before the fight like a bull in the arena - smoke from the nostrils, and in bed with women ... But with Stephanie, he acted like a friend who remained her only support. I don’t think he helped her consciously. He just did it, they say, without a second thought. And when she told him about her gaps in intimate life, he again without a second thought was ready to undress and go to bed. That is, his actions did not have a clear understanding for himself. He just walked by the circumstances ... until the same blow from fate, which taught a great lesson, which in fact in his life is valuable.
Yes, the film turned out harsh and a little tough, given the topic of disabled people. But there’s something about it that attracts you to watch the whole movie without blinking... I can’t tell you exactly why. Possibly due to its grounding and live acting.
PS. In the middle of viewing, I thought it was similar to 1+1: Intouchbles, but I was wrong. Both films are on the same level, but on different sides. Only one country of origin.
Last week, another French film festival was held in our city. As part of this festival, I was able to watch Jacques Odiard’s film Rust and Bone, which has long been of interest to me.
This picture caused a friendly approval of critics in Cannes, and the names of the actors involved in this work. At least one name is Marion Cotillard. And that says it all. In short, I gathered and watched. In French with Russian subtitles. The film was very good, but also very “adult”, hard, frank, and at the same time very lyrical. Well, all these are just words, and this film appeals not so much to reason (word-logos), but precisely what appeals to the feelings of the viewer.
The plot of the picture: an ordinary European, a strong bearded man of typical Caucasian appearance named Ali, along with his five-year-old son, in search of a better life, moves to the Cote d'Azur, to his sister working in a supermarket. Since the man's physical characteristics are good, he goes to work as a bouncer and security guard. And then there’s the “Halturite” in underground battles. And one day in a nightclub, he helps a young woman named Stephanie. No, politically correct drama in the style of the old German “Fear eats the soul”, fortunately, will not. Especially because Ali is just an ordinary man. His European among the Europeans... The film is about something else. It is a mixture of melodrama (which is understandable initially), drama of human destinies, even social drama. In front of the viewer passes a kaleidoscope of a variety of people – from engaged in illegal business bearded or organizing a sweepstakes on the battles of a gypsy to ordinary sellers, athletes and truck drivers. Ali makes a living with his fists, likes to watch on the laptop recordings of fights without rules, Stefania works in a water show with killer whales. They have nothing in common – they are people from different worlds, from different strata. They don't overlap. But then an accident happens to Stefania and she loses her legs ... and their paths cross again with Ali.
And then there was everything - attempts to return to life, timid attempts of feelings, frank conversations and even more frank just animal passion.
In short, you just have to watch this movie. Yes, he's very candid, even rude to the taste of a delicate aesthete. But since the days of “Man and woman” in oblivion has sunk more than one era. And in "Rust and Bones," there's still the main thing - there's humanity. There's fire to build. There is love, both between a man and a woman, and a parent. And strange memories of social cinema are decades past. There are even scenes where stern and naked men in the blood knead each other. And beautiful scenes with the sea... This film may affect something in your heart. This film can be compared with a strong spice, the aroma of which can both repel and attract. But this is the aroma of nature itself, and not “identical to natural” ersatz.
Just a good movie. Including the fact that you can never give up, and that life is the strongest thing in this world.
Summary: Contemporary French cinema. Beautiful, strong, passionate. Rough and thin at the same time. For lovers of dramatic melodramas.
The protagonist Ali (Mathias Schonarts) is a declassed hero with an incomprehensible past and a five-year-old son in addition purposefully moves by trains and buses somewhere in the south of France, slightly stealing for the purchase of daily bread. What is behind his shoulders and where the mother of the child will remain unclear. In the south, in Antibes, lives his sister and her husband, there is an opportunity to settle down, find work and get back on their feet.
In the new place, Ali gets a job as a security guard in a nightclub and accidentally meets Stephanie (Marion Cotillard). Taking a look at the defiant makeup and long legs, Ali remarks profoundly: "You look like a whore." The next time they meet in a few months, Stephanie will no longer have legs.
Strange movie, it seems, and shot quite simply, but the eye from the stingy picture can not take off. Relationships (love what is happening between Ali and Stephanie is difficult to call) of the characters are given simply. The heroine Cotillard does not squeeze tears from the viewer and the very process of her rehabilitation is served without sentiments and tantrums.
If Stephanie is emotionally entrenched for most of the film, except for a few flashes, it’s hard to figure out what’s going on in Ali’s head. Accordingly, you should not wait for long conversations, passes under the arm at the moon, hot kisses. Rather, the characters need each other in silence, without showing or showing their feelings unnecessarily. Ali just puts Stephanie on her feet, helping her re-enter this world, Stephanie gradually takes a new life and, in parallel, falls in love with his companion.
In addition to the line of Ali and Stephanie, the film also promotes a plot with fights without rules, in which Ali participates, and, quite detached from the main canvas of the film, the theme of watching supermarket workers with hidden cameras. Here you can see some left-wing pathos, popular in French cinema and the line itself looks slender, in general, the film is quite far-fetched.
The film is good, except that a few clearly sentimental-made Hollywood episodes at the end of the dissonance are relatively general strict and concise in the senses of the narrative.
It's worth watching.
Ali (Shonarts – titled bone), an impressive unemployed, goes to visit relatives with his son (Verdur). “Visiting” turns into “Can I stay with you guys?”, to which the relatives, in general, did not object – and go object to such. Due to his size and the complete absence of at least a hint of useful skills, Ali arranges a security in a nightclub, where during another coven of drunken youth stops the beating of a vulgarly dressed lady (Cotillard - titled rust). The lady, who Ali considered a whore, turned out to be an orca trainer and generally in all respects a pleasant, only a little disappointed in life girl. They break up, barely having time to meet, and the next day there is a disaster.
Desplat’s music, which is usually grunted and kissed, in Rust and Bones plays a diametrically opposite role: under the soft howls of violins and two notes on the piano, huge men smash each other’s jaws and break their muzzles into blood. Behind the scenes sounds vulgar Bon Iver, Cotillard moans, Shaunarts sobs. Odijarov’s ingenious find – to take away one of the best actresses on the planet’s legs (reasonably forget the Nolan fiasco) and throw it on land – turned an ordinary love story in which one of the fuck buddies wanted real feelings, not a surrogate, upside down. Cotillard's face is still frescoes, and Schonarts, whom the Western press unanimously dubbed the new Brando, very favorably shades her vulnerability with his: affectionately calls her "Robocop" and looks with puppy eyes when she is ready to cut live. And it is all the more painful that Odiyar, undoubtedly, the maestro of modern cinema, who plays so favorably with chiaroscuro and so competently writes dialogues, destroys pedantic work with a sweet ending, in which everything becomes in its own way and under Despla again grunts everyone who is not lazy.
8 out of 10
Jacques Odiard - the director of this film, a native of the film family, began his career as a screenwriter, working side by side with his father - screenwriter and director Michel Odiard, almost his first screenplay debut fell on the world-famous and beloved in our country film Professional with Belmondo. What is it, and to the fact that Jacques is past the fact that a good director, he is still a great screenwriter, passed a good old school, and as we all know a good script is half the success of the film. We can safely say that at the moment Jacques Odiard is one of the best European directors, and his name in the credits is always a guarantee of the quality of the film.
The film tells about two completely different people, she is a young, beautiful, confident killer whale trainer, he is poor, without housing, a permanent job and with a five-year-old son, the personal tragedy of one of them connected their fates, and gave the opportunity to start a new life.
The film turned out to be vital and dramatic, filled with meaning, making you think about life and reconsider life priorities. The film tells about simple things - how to appreciate your life and not to throw away on small things
A separate mention of the actors who gave their all in this film - this is already a world-famous star of French cinema - Marion Cotillard, who got a very difficult role, and we must admit she coped well and little-known Belgian actor Matthias Schonarts, gradually gaining momentum, who lit up in a very strong psychological thriller Loft. It is also worth noting the musical accompaniment of the film, because the composer of the film is Alexand Desplat - perhaps at the moment one of the most popular composers in the world, his works in such films as: Tree of Life, Kloklo, The King says, King of the Full Moon, etc.